Saturday, August 2, 2014

August

Der Anfang

 August 2nd is a Saturday this year. In 1914, the 2nd was a Sunday, and an unusual one in London, because the Prime Minister, Herbert Asquith, had called his Cabinet into session at No. 10 Downing Street -- a thing that had never happened before in British history.

It had been a difficult week, a difficult month. On June 28, the Archduke Franz Ferdinand, heir to the Hapsburg Austro-Hungarian empire, had been shot with his wife in Sarajevo.  The Serbian government was behind the assassination; Austria was determined to "crush the nest of vipers", and Imperial Germany had given the Hapsburg empire promises of support that amounted to a 'blank check'.

German Students Marching To Volunteer, August 1914
But, Imperial Russia stood behind the Serbs (protectors in spirit, if not fact, of Slavic peoples in the Balkans). They were also allied with Republican France -- if Austria were to attack Serbia and the Germans stood with them, Russia could go to war with Austria and Germany in the east, and France would attack from the west.

Belgium, the Netherlands, Spain and Portugal, Denmark and Scandinavia, and Italy were neutral in all this. So was the Empire of Great Britain -- but no one expected them to stand by in a general European war.

Soldiers Of France's 5th Infantry Regiment, August 1914
Austria-Hungary had mobilized its army and sent the Serbian government an ultimatum -- a sham, and everyone knew it. On July 28, Austria declared war on Serbia, its gunboats began shelling Belgrade, and Austrian troops crossed the Serbian border.

Russia ordered a general mobilization, and on July 31st the Germans announced a Kriegsgefahr, a general warning that meant preparation for war had begun. Great Britain, still neutral and conflicted, had quietly issued a Warning Telegram that allowed their War Office to take preparatory steps on July 29th.

The British government made a public offer to host a five-power European conference, and help mediate a solution; Austria curtly refused. After two generations of peace a general European war seemed impossible, unthinkable -- but now, seemed impossible to stop.

August 1

Yesterday, August 1st, in 1914, the situation on the Continent quickly deteriorated. Asquith's cabinet had been meeting in London during the day; there had been talk and debate about the crisis in the Commons. In discussion, twelve of Britain's eighteen ministers declared themselves opposed to any support for France should they go to war with Germany. What was the point, they argued, of taking sides in a squabble that had nothing to do with Britain or British interests? and their division mirrored their country's in miniature.

Prime Minister Asquith was "determined not to lead a divided nation into war" -- however, his Foreign Minister, Sir Edward Grey, had declared the Germans as a force in Europe "bad as Napoleon", and intimated that if the government decided to remain neutral in the case of a war, he would have to resign.

At 4:00PM word reached Grey that France had ordered a general mobilization, and at 5:00PM he was told that Germany had followed suit. General mobilizations are serious and expensive -- disruptions in transportation; affect to businesses as reserve soldiers leave work for active service; the effects to financial markets -- and when they occur, mobilizations mean war. They carry a sense of inevitability with them.

The cabinet, in low spirits, separated for dinner.  First Lord of the Admiralty, Winston Churchill, was dining there when  a messenger arrived just after 8:00PM carrying one of the British government's ubiquitous red dispatch boxes. Churchill opened it, took out a single sheet of paper and read it, then told his dinner companions, "Germany has declared war on Russia".

Admiralty House, London
He walked from the Admiralty House to Downing Street, and met with Asquith, Grey, and two other senior ministers.  More bad news had arrived: at about 9:00PM, the British Foreign Office received word from the Foreign Minister of Luxembourg that German troops had crossed their border and seized the main telegraph exchange, a major European communications hub.

Churchill left the Prime Minister's residence, returned to the Admiralty, and at some time after 10:00PM ordered (as a separate act from any order for the army) the British fleet to mobilize.

August 2

10 Downing Street Is The Dark-Grey Building At Center/Right -- In 1914, Other Buildings
In the Immediate Vicinity Held The Home Office, Foreign Office, India Office and Colonial Office
 So on that Sunday, when a general war engulfing the European continent seemed inevitable, the British cabinet met -- an act that had never occurred in British history. The question they faced was the same as it had been the day or the week before: why take the country to war over what amounted to a dispute between Austria-Hungary and Serbia? How did this involve Great Britain?

Cabinet Room, 10 Downing St.
Even with the clock clearly at two minutes to midnight, all the major combatants mobilized and two out of four (Russia and Germany) having declared war, the majority of Asquith's cabinet still believed a diplomatic miracle could occur to avoid a massive conflict -- because such a thing seemed so unbelievable.

The major topic of discussion that Sunday was the British and German navies -- for decades before 1914, the Germany and Great Britain had been involved in a (principally naval) arms race. If Germany and France went to war, it was likely the German fleet could sail into the English Channel.  On principle, the British couldn't permit it -- but if they moved to block the Germans, such an act might force them into a war with Germany.
Men Outside London's Main Army Recruiting Station, August 1914 (Click To Enlarge)
 The problem Prime Minister Asquith and his cabinet faced was, Britain's government had already quietly committed their country to a de facto alliance with the French. Unfortunately, no one had informed the country, or the Parliament, about any of this.

For years, the French and British military high commands had met and developed detailed plans for cooperation in case of a war between France and Germany. The British would deploy 100,000 men to the continent within two weeks of a declaration of war, to fight alongside the French Polius. The French were pleased with what they saw as a commitment, an act of honor, from their neighbor across the channel.

The British saw it as discussions about a contingency -- just a general direction, you see. No one had made a formal commitment to do anything, and no one had signed a treaty; the military plans were on the level of a tabletop war game.  The politicos assumed, along with everyone else, that the long peace in Europe would last forever. The plans would never have to be used; the French were kept happy... where was the harm in all that?

Events on the continent since June 28th were threatening to expose the government as having committed Britain to an alliance, and a possible war, without debate or consensus. The public, its elected representatives in the Commons; even King George V would not be amused when they found out -- one more reason Asquith and his cabinet agonized over Britain's position as Europe plummeted into war.

Late on that afternoon, Foreign Secretary Grey asked the cabinet for authority to declare that if the German fleet sailed to attack France's northern ports, Britain's navy would defend the Channel. After arguments on both sides, the Cabinet uncomfortably agreed, and two isolationist ministers resigned forthwith.

While the British cabinet continued to talk, at 7:00PM in Brussels the German ambassador  met with the Belgian Foreign Minister, and delivered a note: Germany had 'reliable information' that France was planning to attack them, through Belgium -- a country which had been as neutral as Switzerland since 1830, that neutrality guaranteed in a document signed by all Europe's major powers.

It would be necessary, the ambassador explained, for the German army to cross Belgium on its way to France.  The Belgian army could 'line the roads' as the Germans marched through, or fight. If they resisted, the Belgians would be regarded as an enemy.  They had twelve hours to respond with 'an unequivocal answer'.

Word of Germany's ultimatum reached Foreign secretary Grey in London over dinner; he drove immediately to 10 Downing Street and urged the Prime Minister to give the order for full military mobilization; Asquith agreed.

The Belgians advised the British and French that they would resist the invasion; as Asquith's orders calling up British reservists were issued, another two ministers in his cabinet, shocked and saddened at what they saw as the folly of the moment, resigned.

Back in Belgium, at 9:00PM its cabinet of ministers met with Albert, King of the Belgians, at the royal palace. Albert was not completely surprised by the German demand -- while visiting Berlin less than a year earlier, he was treated to barely-disguised threats from the Kaiser and leading military officers that if Der Tag ever came and France was to be dealt with, Belgium would be forced to choose a side.

Royal Palace, Brussels, Belgium
 The Belgian army consisted of six divisions of infantry and one of cavalry, roughly 60,000 men -- and Belgium had a series of forts at Liege and Namur which (based on wars of the past) could at least slow the German advance. Over 350,000 men would swing across Belgium, towards France.  The Belgian army had Dog Carts, pulled by actual dogs; the Germans had 380mm and 420mm artillery pieces.

Even so, there was never a doubt in the minds of Albert or his ministers what their response to the German ultimatum would be. "It must be 'no', whatever the circumstances," Albert told them. Another minister said, "Well, if we are to be crushed, let us be crushed gloriously!"

The King and his ministers continued meeting past midnight. Bizarrely, at 1:30AM, the German ambassador reappeared to press for Belgium's standing aside as armies marched through their country, leaving empty-handed after an hour. At 4:00AM the ministers left to prepare the formal response to the Germans.

August 3

At 7:00AM, as the twelve hours of the ultimatum expired, the Belgian Foreign Minister delivered his government's response to the Germans: No.

In London, it was becoming clear that war could not be avoided, and that England was already, whether they liked it or not, involved in that war by it's previous vapid commitment to the French -- and they expected Britain to stand with her. In addition, the British could not allow the Germans free passage through the Channel; but the pending German invasion of neutral Belgium was an intolerable last straw.

At 3:00PM in the Commons, Secretary Grey rose to speak about the coming war and for nearly an hour was eloquent in his explanations as to why Britain could not stand aside. He explained the prior military cooperation with the French (which, given current events, suddenly appeared as sensible policy), and appealed to honor and practicality. When he was finished, the House erupted in applause. The nation, in the Commons, seemed united.

As Grey sat down, Winston Churchill asked him, Now what? "Now we shall send them an ultimatum to cease the invasion of Belgium within 24 hours. If they refuse, there will be war." At 5:00PM in Berlin, Germany issued a declaration of war on France and began their invasion of Belgium.

Not long after learning of Germany's declaration, Secretary Grey stood at the window of the Foreign Office -- believing there was little chance the Germans would stop their invasion -- watched as the gas-lamp streetlights were being lit outside, and said, "The lamps are going out all over Europe; we shall not see them lit again in our lifetime."
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Felix Valloton, "Cemetery, Chalons-Sur-Marne, 1917"
Two days later, on August 5th, as German armies began an assault of the fortress system around Liege in Belgium, the Chief of the German General Staff wrote to the head of Austria-Hungary's general staff, "Europe is entering the struggle that will decide the course of history for the next hundred years."

He was too conservative in his estimation. We still live in the world that war helped to create, and will for generations more.

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Friday, July 18, 2014

Kiddietown

Hateful and mean-spirited graphics from that awful Dog, living on Left Coast America in the place that is One Big Campus, and One Big Dorm (Click on pictures to enlarge -- Easy! Fun!).




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Tuesday, July 15, 2014

Mongo Thinks About Chuck Some More, Also

Because The Universe, Sometimes


(Sean Beaver, Darkness Into Light; O/C 30 X 40 Inches [2005])

Friday, July 4, 2014

Traffic From The Moldova

BeforeNine seems to be getting more traffic (like eighteen whole hits a day; yeah sure you know; whatever) from Moldavia.  We are mute in our Dog-like amazement -- meaning, we're not barking at the moment.

We assume this must be due to subtle influence of a friend of I. Rabschinsky, the redoubtable Moldavish Guy, but who knows.

Мы надеемся, что это хорошо для вас, хорошо для вас. Сделайте хорошая вещь сегодня для вашей матери или малых порожденных процессов. Спасибо.

Okay now. 

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Wednesday, July 2, 2014

Downton Abbey Season Five?


Downtown Abby Alien Nation

Too Polite To Point Out That The "Little Gentleman", Uh, Isn't
(Click On All Images To Enlarge. Easy And Fun!)
Downton Abbey has been the latest popular British television series to provide America with yet more proof that our own network teevee productions are Offal awful by comparison.

If what passes for culture on U.S. television were compared with an infomercial, the infomercial might win; it's a real possibility.  But Downton (shown here on Public Broadcasting as it is on BBC in the UK) is compelling on many levels: the obvious soap opera; the human drama of the Upstairs family, Downstairs employees; and the individual characters, living through (so far) 1912 - 1924, a rapidly changing world.


Many television dramas  have a decent crew, lighting and set designers, costumers; even passable writers -- but if the program's cast doesn't have that je ne sais quoi, it may not last more than a couple of seasons. Clearly not so with Downton -- what makes the show is not only an excellent crew, but the strength of its casting.

Season Five: What's Cookin'
But could Downton build on that in its fifth season? Say, an utterly unexpected casting choice that could kick its viewer share into the stratosphere? Let's get crazy 'n creative -- put Paul The Alien in there !

If they'd done that as far back as Season One, I'll bet things would have gotten interesting...







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Tuesday, June 10, 2014

Reprint: Sandy Hook

Observations By Others

[There appear to be more "shooting incidents" occuring than before. This reprint is from December, 2012 and is as true today as it was then. Even more so.]
 (Photo: AP, via The New York Times)

There are no real words for what happened in Connecticut, yesterday. There is plenty to say about how it happened.

I overheard someone at work (a classic gun nut owner who believes Negros persons of color will overrun his part of the planet) observing that "this [presumably, massacres committed by unstable individuals with firearms] is the new normal".

On PBS' The News Hour, a professional psychologist asked to comment said (and I'm paraphrasing) that "It's important to say... this kind of tragedy doesn't happen every day... that schools really are safe places."

I reject the first comment. The second remark made me think: This fellow doesn't go to many Inner City schools, then -- massacres with 27 dead don't happen every day, that's true; but there are shooting incidents, and kids packing, and metal detectors, and education occurring against a solid backdrop of poverty and violence, every day. 

The psychologist on News Hour was, I thought, trying to suggest themes parents might pass on to reassure their children (Don't worry, Timmy; It Can't Happen Here) -- that planes can crash, but the odds of going down in one, or having one crash on top of you, are hugely in your favor. And largely, that is true.

But planes do crash. Ships sink. Trains collide and buses plunge. Whenever that does happen, there are NTSB investigations, reconstructions and root-cause analyses. There are discussions with engineers and manufacturers about what to do to lessen the chances such a tragedy doesn't happen again.

Only in cases like Sandy Hook does our national debate begin and end with, "Guns don't kill people; the people using them do". And that's it -- Pilot Error, essentially, is the public finding; and any other meme is just filler in the media. That, and people repeating, "It doesn't happen every day."

I'm sure that fact is a comfort to the extended families of twenty children, who died because they were shot with high-powered handguns. Twenty children.

I grew up around guns. I've owned firearms; at various times because I was required to carry them, but afterwards had no sane reason to keep them. I don't want them in my home.

We live in a world of high anxiety, and there are persons who want to exploit those feelings of danger, threat, and imminent disaster:  Gun manufacturers, and their lobby, the NRA, are at the top of the list.  Mike Huckabee and the rest of his fellow Xtian evangelical ilk; there are 2012 World-Enders, predicting massive earthquakes and crustal displacement and 'coastal events', and ultimately few survivors.

There are White Power fascists, and Survivalists, and the people who manufacture and sell them freeze-dried food and plans for bunkers to shield against the EMP bursts from North Korean-launched warheads, detonating high above the USA.

What happened in Sandy Hook yesterday has happened before -- in Columbine, in Denver; In Virginia; in a mall in Seattle last week; at a Dairy Queen in the Northwest. There may not be massacres, but annually there are many multiple-victim, firearm homicides in America.

And they will keep happening, until something changes about how firearm ownership and possession is discussed, and regulated, in this country.

The debate is not about Operator Error.  It's not about something that happened "over there" in another city or state. It's about twenty dead children.

Along those lines are two, other very pertinent observations -- one, a part of the discussion at TPM Prime (Subscription Required):
Memekiller:  ...for me, it's all about the NRA. I'm anti-NRA, not guns, and am offended by the strangle-hold they have over our politics. And I'm angry that Democrats have ceded the issue, only to have the NRA, if anything, put twice as much effort into unseating Democrats and Obama who, if anything, loosened rules on guns ...

... And the gun culture the NRA fosters... Would the prevalence of guns be as frightening without the culture of paranoia and conspiracies they perpetuate? It's not just about freedom to own a gun. The NRA culture is a cult of xenophobia and insanity. They don't seem to be aiming their message at responsible gun owners so much as the disgruntled and those prone to paranoia. They are less about developing an advocacy group than they are about assembling a well-armed militia of the mentally unstable.  
And the other, at The Great Curmudgeon :
Broken
Our discourse, that is. Fortunately, we have DDay trying to repair it.
Just to pick at random, here are a couple headlines at the Hartford Courant site just from the past 24 hours: Woman Shot, Man Dead After Standoff In Rocky Hill. Armed Robbery At Hartford Bank, Two In Custody.It’s not that school shootings like this are abnormal. They are depressingly normal. The fact that there were no shootings in one day in New York City recently was seen as a major achievement, which shows you how desensitized we have become to gun violence as a normal occurrence of daily life.Just a reminder. The NRA is an industry lobby for the gun industry. The industry that makes consumer products largely designed to kill people.  Not deer. Not rabbits.

People.   

Tuesday, May 13, 2014

Chairman Of The Board, Part 1

Gozirra, Then and Now
(Part 2 follows)

Disgruntled:  Not Allowed On The 'Blue And Gold Fleet'
Arooo, Arooo / Godzilla Sure Likes You
He's Got Big Feet/ And He Smells Real Neat
Arooo, Arooo Arooo; Arooo, Arooo...
>>  Rhyme Started By Friends' Children;  To The Tune Of, "Hi Ho, Hi Ho; It's Off To Work..."

The Big Guy will be making his appearance this week, on a gigantic multiplex screen near you, in another installment of the timeless saga of ambition, terror, sea water, and a 350-foot Lizard who just wants to be the best 350-foot bipedal Lizard ever, and find love in a busy uncaring world -- the 28th (or, depending on who you ask, the 29th) film version of Godzilla.

In Sixty Years, He Has Entered Our Collective Unconscious
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Spoiler Alert, Sort Of

Be Advised: If viewed in reverse, this film shows the Giant Happy Fun Lizard putting out fires and rebuilding a large, urban area for its inhabitants, playfully wrestling with other large alien figures (but none so large as He), then backing away respectfully into the ocean as a grateful nation sends naval vessels and its airforce to join in celebration.  Roll credits; everyone goes home feeling good.
  
According to people who have actually seen the film (the most creative take I found is by illustrator and reviewer, Natalie Nourigat, and can be found at her site, Spoilers !), most classic moments you expect to see in Giant Monster movies are present: The scientist who tries to warn the population and is ignored; the brave warrior; scenes of people chatting about things personal; the happy children, playing at the seaside... and all the while, the audience knows: Gorzirra Out There. Gorzirra Come Soon. U Are All So Scrood.

So Much For 'Suspension Of Disbelief': No Way It's That Overcast On The Bay In August
In fact, it may be that Godzilla 2014 is so much like previous Giant Monster films that it runs the risk of ironic self-parody -- and when The Big Guy appears, he's just in the nick of time to keep us from nodding off.

And still, we don't know: What the hell does he want? Why does he do the stuff he does? Is he just pissed off, twenty-four-seven? About what? Is he sad? Is there a Ms. Godzilla? And the answer always comes back --  It's In The Script! He's Godzilla! It's a monster movie, for crying out loud; it's not 'Prime Suspect'. There is no nuanced, emotional or rational context in the film to provide those kinds of answers.

 We've seen "Earthquake!" and all the Airport movies, and "2012": the earth shakes a lot; planes almost crash; and there's that Mayan, end-of-the-world thing. They're genre films, which build on every previous film of their kind that's gone before.

The best you can expect is that a director is superb at delivering a genre story (M. Night Shyamalan, say, before Lady In The Water). Rarely, a classic appears and redefines a genre (like Chinatown, or Alien) -- but in general, most of these films follow a formula as faithfully as the tides.

Outtake For The Gag Reel: Having Blown His Line, The Big Guy Does Karaoke
And special effects -- showing us what the impossible looks like -- draw us in.  I'm also curious to see what Bryan Cranston does with his role (his first after Breaking Bad), and Ken Watanabe (of 'Letters From Iwo Jima' and Inception), but the CGI treats will be a focus.  And I'm interested to see whether my neighborhood survives; from the stills on the Intertubes, it appears North Beach, the Waterfront and Financial district are Toast, so who knows.

And I'll go to see The Chairman Of The Board, of course. He's been a treat for sixty years.
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1954: Big Guy's Beginnings

(Note: This narrative undoubtedly has holes, inaccuracies, and is incomplete. It won't satisfy a Godzilla, or a film, purist. This an arc about the evolution of a character from destroyer, to near-slapstick character, and back again. Enjoy.)

Gojira (The Original) Attacks The Tokyo Diet Building, 1954
The Godzilla franchise isn't as old a film character as Dracula or Frankenstein, Batman or Superman -- but the mythos behind all of them has periodically been re-imagined and re-translated on the screen for new generations. There's no doubt about it, though: As a concept, Godzilla is a classic. And in Japan, Gorjira is regarded as one of the two most classic films in its national cinema -- right alongside Akira Kurosawa's Seven Samurai.

No joke: when it premiered in 1954, Japanese audiences (who have very different cultural reference points than we here in the West) didn't consider it a cheesy monster flick so much as a serious morality tale about the limits of science, told through the destructive hijinks of a mythic lizard. In fact, there's a bronze statue honoring The Big Guy in downtown Tokyo.

Ray Harryhausen's Stop-Motion Creature, 1953
Godzilla's cinematic roots were Made In The USA: In 1953, Warner Brothers premiered the classic Beast From 20,000 Fathoms -- a giant, prehistoric dinosaur, released from frozen sleep in the Arctic by a nuclear test explosion, swims to New York City and then comes ashore to raise all kinds of ruckus. Sound familiar? The monster was played by a large rubber model with an internal, articulated armature, operated by the master of stop-motion animation, Ray Harryhausen, (the armature designed and built by Ray's father), and the film was distributed around the world.

But Godzilla's real genesis began over a labor dispute: In the spring of 1954, producer Tomoyuki Tanaka of Japan's Toho Film Studios was in a real fix.  Having negotiated making a film for Toho in Indonesia, with everything ready, the Indonesian government refused to grant visas to Japanese actors (one way of saying, "Thanks for the brutal occupation of our country a few years back").  Tanaka, who was just trying to make a movie, was moderately screwed.

Director Honda (Left), Producer Tanaka (Right), Toho Films
Toho Studios had grown out of a theater company which (among other things) managed all Kabuki theatres in the city of Tokyo. It began to make films in the late 1920's, and operated movie houses for a new, domestic Japanese market. After 1945, it was struggling to make and distribute motion pictures in a Japan still trying to define itself after the end of the Second World War. 

Tanaka had funding to complete a film, but suddenly, no project; he had to find one, or else. As he flew back to Japan from Indonesia, that American film he'd seen, Beast From 20,000 Fathoms -- about a monster lizard terrorizing New York -- drifted through his head, and he began getting ideas.

Back in Tokyo, Tanaka made a forceful pitch to the studio heads to make their own version of  20,000 Fathoms. He was given approval to re-direct the budget of his Indonesian picture towards this new film -- but with one catch: he had only six months to get a film in the can, edit it, and produce a Final Cut.

This called for what the Japanese referred to during WWII (some enthusiastically; some with sarcastic derision) as a "Hero Project" -- shortened deadlines, intense work, little sleep, and All Hands On Deck. In short order, Ishirō Honda (who had already completed two domestic films for Toho) was hired to direct what Tanaka called "Project G" (for 'giant'). Shigeru Kayama, a science-fiction author, was engaged to develop a screenplay and the concept of  The Monster -- originally a wild predator which came ashore, ate people, and went back in the water.

A second draft of the screenplay by Honda and Takeo Murata expanded on themes Tanaka wanted to see in the finished film -- fears of radiation and the proliferation of nuclear weapons, real-life monsters unleashed by the United States in the 1945 atomic bombings of Hiroshima and Nagasaki, and through continuing nuclear weapons tests in the Pacific.

The Monster in their script -- which had no name, yet -- grew in size, particularly after the studio consulted their special-effects director, Eiji Tsuburaya, who had worked with director Honda on his previous films.
 
Before Godzilla's Visit: Tsubraya's Miniature Tokyo Bay (1954)
Tsuburaya was known at Toho Studios for the realism of miniature model effects he created for a 1942 Toho film dramatizing Japan's attack on at Pearl Harbor. He had been intrigued by stop-motion animation ever since seeing King Kong in the 1930's, and while he was impressed with Harryhausen's work for 20,000 Fathoms,  Tsuburaya advised Honda and Tanaka that a stop-motion Creature would not work for the new project.  That technique was time-intensive, and 'Project G' had no time to spare.

Tsuburaya suggested an actor wearing a large suit would be their Monster, and attack a tiny Tokyo. Some wanted a monster designed with a mushroom-shaped head, reminiscent of a mushroom cloud, but the traditionalists won -- the Creature was dinosaur-like, but still needed a name. Producer Tanaka reportedly overheard colleagues talking about a Toho Studio press agent, nicknamed "Gojira," -- a combination of the Japanese words for gorilla (Gorira) and whale (Kujira). Tanaka decided to use it as both the name for the Creature and the title of the film -- and to Western ears, 'Gorjira' sounds very much like... Godzilla.

(MEHR, Mit Arooo: In response to a question, yes: the sound, "Arooo!" assigned to The Big Guy did originate from its use by 'Nixon's Head' in the animated series, Futurama

Here at Before Nine, we've reported Arooo being used by The Zombified Ronald Rayguns, among other things. Oddly, it's a term also applied to conical, clear plastic packaging, and [our favorite] Dog Products.)
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(Part 2 Follows Below)

Chairman Of The Board, Part 2

Gorzirra, Then and Now
(Part One Is above; or, Go Here)

Releasing Gojira: 1954

(The Story Thus Far:  An American film, Beast From 20,000 Fathoms, is released by Warner Brothers in 1953, and gives producer Tomoyuki Tanaka of Toho Film Studios the inspiration he needs to save his job. Allowed to make a Japanese version, he is given roughly six months to complete it.

(Tanaka envisions a Giant Lizard, the mutated product of radioactive fallout or contamination, to serve as a warning about the limits of science and unintended consequences of the proliferation of nuclear weapons.

(It's decided the Creature will be named "Gorjira" [a combination of the Japanese words for 'Gorilla' and 'Whale'], and the project's special effects consultant, Eiji Tsuburaya, convinces Tanaka and his team that an actor in a large rubber suit can play the Monster, and will have the fun of ravaging a miniature downtown Tokyo.)
Haruo Nakajima (Left) Served Tea On The Set Of Godzilla (1954) 
One of Toho Studios' principal stunt actors, Haruo Nakajima, volunteered to play Gorjira -- but even with several redesigns, the suit was heavy and difficult to use (its final version required a drain for collected sweat) and only frequent rehydration breaks kept Nakajima from passing out due to heat exhaustion. 

Tsuburaya (Left) Confers With Nakajima, 1956

The film was completed on schedule, released in Japan on November 3, 1954, and was a blockbuster hit.  Overnight, Toho was the film studio in Japan, and Gojira's director, producer and special effects creator hailed as geniuses of the cinema arts.

The film was sold to the American market; producer Joseph E. Levine had it dubbed, cut by twenty minutes, and inserted scenes of Raymond Burr (star of the popular television series, "Perry Mason") as an Edward-R-Murrow-style journalist, broadcasting eyewitness accounts of The Big Guy's trip to Tokyo.

Raymond Burr Contemplates His Fee For This Acting Job
Levine named the film "Godzilla, King of the Monsters", and released it in 1956. It was a smash in the U.S., pulling in $2 million dollars (that's about $40M in 2014 dollars, kids -- not bad for a guy in a rubber suit).
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Toho, and Daikaiju, Go Viral: 1955 - 1961

Tanaka initially considered Godzilla a one-shot morality tale, not the beginning of a 'franchise', and of an entire cinema industry.  However, the movie was so popular (not only in Japan, but worldwide) and making sequels seemed so potentially profitable, that in less than a year Toho shot and released "Godzilla's Counterattack" (later famous for the derisive line, "And you call yourself a scientist").

This was the first film where Godzilla would fight another monster, Anguirus (which became Godzilla's friend in later movies) -- and this established what eventually became the hallmark of the Godzilla 'franchise': Other monsters appear (from inside the earth, from outer space, or the mind of Minolta), wreak havoc, and Earth is defenseless... until Godzilla appears to save the day.

War Of The Rubber Suits: Big Guy And Anguirus Duke It Out
"Counterattack" (released as Gigantis in the U.S.) wasn't as successful in Japan as the original Godzilla, and the movie didn't adapt well to foreign distribution. As a result,  Toho began releasing other daikaiju movies (a term meaning "gigantic, strange monster"), a new genre of films Toho had created and which other Japanese studios began to imitate) -- most notably Rodan; "Varan the Unbelievable"; and Mothra by 1961.

All three of these characters would appear in later Godzilla films. All were solid box-office hits in Japan; Toho Films decided to keep milking the daikaiju cow so long as it kept paying off.

Good, Bad, and Even Worse: 1961 - 1973

"Look, No One Told Me Kyoto Was A World Heritage Site"
... and pay off it did. In 1961, Toho collaborated with American producer John Beck to create "King Kong versus Godzilla", the most box-office popular Godzilla movie of all time in the U.S. and Japan.  On the strength of that success, Toho produced 12 more Godzilla films -- by the end of which Godzilla was transformed from a mutant, destructive Monster created by atomic radiation, to the protector of humankind.

Actually, no one can be certain whether The Big Guy likes humankind enough to fight for it, or is just amazingly pissed off at the violation of his turf by some giant Bug / Dragon / Flying Turtle / et al.

(I'm not adding a list of all Godzilla productions; you can look at the Godzilla Wiki for that. We're just looking at the evolution of an archetype here.)

Unfortunately, over time, several things happened:  Godzilla's character and portrayal began to resemble the formulaic aspects of other daikaiju films and characters, and other Giant Monster films had a certain level of low comedy and moments of near-slapstick action.  Toho adapted its most popular character to fit the genre, not the other way around, and by the early 1970's things were ... goofy.

No longer the chunky-but-trim Terror From Under The Sea who laid waste to large urban areas, Godzilla lost most of his back spines and looked like... your neighbor, in a big rubber suit.

Godzilla (L), Megalon (R), And Other 400-Foot-Tall Beings
In 1971, I thought the bottom of the barrel was Toho Studio's "Godzilla vs. The Smog Monster", which showed human victims chopped up in sections (take that, kiddies), pratfalls, and Godzilla boxing like a human. It's tough to maintain suspension of disbelief under those circumstances.

Unfortunately, it was topped by their 1973 Godzilla vs. Megalon -- I swear to God; the stunt workers in that 89 painful minutes of cinema had to have been higher than Mt. Fuji. And the "film" was shot in only two weeks: Toho was low on funding. The daikaiju cow had gone dry.
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Death And Transfiguration: 1975 - 1995

In 1974 and 1975, Toho tried slightly rebranding their character for its 20th anniversary in MechaGodzilla and The Terror Of MechaGodzilla, but the original magic of the character had been badly diluted; the public wouldn't pay to watch him, and Toho's executives didn't want to risk their money in future Godzilla film projects.  The Big Guy only made a few appearances on Japanese daikaiju science-fiction television into the early 1980's, all moderately ridiculous compared with the menace and destructive power of the original Monster.

In 1984, the 30th anniversary of the character's birth, Toho made a simple and radical decision to save the franchise which had financed the studio's successful expansion for decades:  They started producing a new set of Godzilla films, called the "Heisei Series."

Most were for the Japanese market only -- but through them, Toho Studios simply 'reset' their character -- they ignored every Godzilla film made after the original 1954 release (good pick, that) and started with a new film appropriately titled Godzilla, which starred a Big Lizard who looked almost identical to the one who stepped on Tokyo in 1954.


In it, The Big Guy returns to his amazingly pissed-off former self, indestructible, created by nuclear radiation, a 350-foot-tall Lizard out for your personal ass.  It was released in America as Godzilla 1985, with some added scenes featuring an American played by (wait for it) Raymond Burr.

Ten years later, in 1995, Toho decided to end their franchise by killing it, in Godzilla vs. Destroyer. Toho made Godzilla's death public by adding "Godzilla Dies!" to posters and advertising of the film, and (while leaving a door open for a successor to reappear), The Big Guy dies.

Broderick Gets Up Close And Personal With Roland Emerich's So-Called Lizard (1998)

In 1998, everyone wished his successor had died before the filming started when TriStar Films licensed with Toho to develop their own Godzilla -- a computer-generated Big Lizard which had little relation to the classic Big Lizard. Directed by Roland Emerich and starring Matthew Broderick, it was a financial and artistic flop; the less said about it, the better -- but it was Bad. It was just Bad.

There was, of course, the movie 'Atonement', but Godzilla's appearance in that film was barely mentioned. Probably because we'd all rather look at Keira Knightley.



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So, there are two Godzillas -- the Japanese Monster who came from the sea to destroy things, stayed to become a comedic actor, then returned to his old ways.  That current Godzilla encompasses both the original Destructor, the product of bad science and big bombs, and his daikaiju side, battling other Big Monsters to protect the Earth, his turf, or just for the hell of it.

Godzilla films have continued to be popular in Japan, and a second series was released following The Big Guy's supposed 'death' in 1995 -- again, Toho simply "reset" the story line without reference to the character's end... but this is one side of his existence that American or European audiences don't see. In Asia, Godzilla is timeless and lives on, as pissed-off and irrascible as ever, sometimes defending mankind and occasionally kicking Tokyo's ass.

The second Godzilla is a creature of Hollywood -- less accessible, a  Godzilla "leased" from Toho Studios and who is (aber natürlich) much different for a Western audience. He's more of an animal, nastier, cunning and cold-blooded -- kind of like The Koch Brothers on a good day.  He's all Destructor. No slapstick from this Big Guy.

However, after Emerich's poor showing nearly twenty years ago, no American studio (or whoever owns the conglomerates which make films these days -- Disney; Little Rupert's Fox; Comcast) wanted to risk putting money behind another Godzilla remake -- until now. This new film is supposed to be a "totally new concept" in Godzilladom. We'll see.

It's nice, though, that The Big Guy is getting work. He thinks so, too, I'm sure.


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MEHR: With apologies to Fafnir, Giblets, the ghost of Freddy el Desfibradddor; Mistah Charlie, Phd.; and the Medium Lobster Himself (who is, well... pretty sizable):
Godzilla! There is no Giant Happy Fun Lizard but He - the Living, The Self-subsisting, the Eternal. No slumber can seize Him Nor Sleep. His are all things In the heavens and on earth and under the oceans. Who is there that can intercede In His presence except as He permitteth? He knoweth What (appeareth to All as) Before or After or Behind them. Nor shall they compass Aught of His knowledge Except as He willeth. His throne doth extend Over the heavens and the earth, and He feeleth No fatigue in guarding and preserving them, For He is the Most High, The Supreme (in glory). He is Godzilla, King Of The Monsters, the One and Only.
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Friday, May 9, 2014

Judgemental Day

Dude; Where's My Personal Space
 
© Dan Steiner 2014.  Click To Enlarge!  It's Easy, And Fun, Too!

 On March 29, 1976, The New Yorker ran a cover graphic by illustrator Saul Steinberg (1914-1999), "View Of The World From 9th Avenue", which depicted in graphic terms the importance of the rest of the world from the relative perspective of those living in a specific New York City neighborhood.

It wasn't a new concept in illustration; there are examples of similar 'maps' in what passed for cartoons in England and Europe of the 17th and 18th centuries, and America in the last quarter of the 19th. But it hadn't been used in so long that when Steinberg resurrected it, the idea was 'fresh' again (True in Art as well as Life: No New Thing Under The Sun).

Steinber's 1976 Cover: Click On Image To Englarge -- Easy! Fun!
In the years that followed, the concept Steinberg played on visually (human tendencies towards insular, 'Our Crowd' snobbery, and to see where you live as the center of the known universe) was seized on by other artists, who spun off similar maps of their own regions or towns. A variation on this idea is the map of a geographic or urban area, with legends to describe the denizens of various neighborhoods, and/or the activities which go on there. These maps are generally heavy on Irony, Snark, and full-on Sarcasm. 

So, with that in mind, the fabulous infographik people at JudgementalMaps ("Your City. Judged.") created a site for graphics types, who specialize in observing local and regional Snark, to offer their pictorial contributions -- and in particular, this San Francisco map created by Dan Steiner, where Dan describes my area of The City [Nob Hill] as "Horrible People".  

I'm not one of the wealthy (I just use one of their zip codes; you should see the join-our-exclusive something / Black-Amex-Card blind solicitation mailings I get), but those who live in this area are mostly clueless, brittle, demanding and entitled.  So I'd say, from my low-to-the-ground Dog's perspective, Dan is spot-on.

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Reprint: Victory

( This post is now another annual repeat. )

Victory In Europe (V-E) Day; May 8th


May 8th, 1945; Kaiser-Wilhelms Church
Kurfurstendamm, Berlin


San Francisco, May 8, 1945


May 8th, 1945; Times Square, New York City


Canadian Troops, German Refugees Outside Hamburg, May 8, 1945


May 8th, 1945; Ebensee Concentration Camp, Bavaria


May 8th, 1945; Russian Soliders At The Reichstag, Berlin


May, 1945; Russian Soldiers Near Führerbunker Show Location
In Chancellery Garden Where Hitler's Corpse Was Burned


May 8th, 1945; Berlin


May 7, 1945; Survivors Of Mauthausen Concentration Camp


May 8th, 1945; Winston Churchill At Whitehall, London


May, 1945; Bomb Damage Still Being Cleared, Central London


May, 1945; Berlin


May 8th, 1945; Paris


May 8th, 1945; German Refugees, Juchen (N.Rhein-Westphalia)


Memorial, Mamayev Kurgan, Volgograd


Memorial, The Cenotaph, London


Memorial, Near The Mall, Washington, D.C.


Memorial, The Neue Wache With Kollwitz Pieta, Berlin


Memorial, Deportees And Prisoners; Lyon, France


Memorial, Yad Veshem, Jerusalem


Kaiser-Wilhelms Church; Kurfurstendamm, Berlin


European Union Headquarters Building; Brussels, Belgium